First issue of 'The New Republic' published

First issue of 'The New Republic' published

While World War I rages in Europe, the first issue of a new magazine, The New Republic, is published in the United States.

The New Republic’s editorial board was presided over by the journalist Herbert Croly, author of the influential 1909 book The Promise of American Life. Impressed by Croly’s arguments for greater economic planning, increased spending on education and the need for a society based on the “brotherhood of mankind”—ideas that were said to have influenced both Theodore Roosevelt and Woodrow Wilson—the heiress Dorothy Payne Whitney and her husband, the banker and diplomat Williard Straight, approached Croly and asked him to join them in launching a new liberal journal that would provide an intelligent, opinionated examination of politics, foreign affairs and culture.

After recruiting his friend and fellow journalist Walter Lippmann, Croly saw the first issue of the new magazine hit the stands on November 7, 1914.Though its first issue sold only 875 copies, after a year the circulation of The New Republic reached 15,000. Strong supporters of Theodore Roosevelt and his newly formed Progressive Party, the magazine’s editors were wary of the administration of Woodrow Wilson, although they did support Wilson’s proclaimed neutrality at the beginning of World War I. In May 1915, however, a German submarine sank the British passenger ship Lusitania, killing 1,201 passengers and crew members, including 128 Americans. The New Republic began to switch its anti-war position, eventually throwing all its support behind President Wilson’s decision to take the nation to war in April 1917.

Walter Lippmann especially grew close to the administration during wartime, working as an assistant to Newton Baker, the president’s secretary of war, and with Colonel Edward House, Wilson’s closest adviser.In the aftermath of the war and the Paris Peace Conference of 1919, both Croly and Lippmann became critical of Wilson and the viability of the Versailles peace treaty and the League of Nations. Croly went so far as to call the treaty a “peace of annihilation” in its harsh treatment of Germany and to claim that the League would “perpetuate rather than correct the evils of the treaty.” Meanwhile, sales of The New Republic declined from a wartime high of 43,000 and the journal soon was operating at a loss. Lippmann left the magazine in 1920, and in 1930 Croly was replaced as editor.

Today the magazine—headquartered in Washington, D.C. and New York City—still publishes regularly.


New York (magazine)

New York is an American biweekly magazine concerned with life, culture, politics, and style generally, and with a particular emphasis on New York City. Founded by Milton Glaser and Clay Felker in 1968 as a competitor to The New Yorker, it was brasher and less polite, and established itself as a cradle of New Journalism. [3] Over time, it became more national in scope, publishing many noteworthy articles on American culture by writers such as Tom Wolfe, Jimmy Breslin, Nora Ephron, John Heilemann, Frank Rich, and Rebecca Traister.

In its 21st-century incarnation under editor-in-chief Adam Moss, "The nation's best and most-imitated city magazine is often not about the city—at least not in the overcrowded, traffic-clogged, five-boroughs sense", wrote then-Washington Post media critic Howard Kurtz, as the magazine increasingly published political and cultural stories of national significance. [4]

Since its redesign and relaunch in 2004, the magazine has won more National Magazine Awards than any other publication, including the 2013 award for Magazine of the Year. [5] It was one of the first dual-audience "lifestyle magazines", and its format and style have been emulated by some other American regional city publications.

In 2009, its paid and verified circulation was 408,622, with 95.8% of that coming from subscriptions. Its websites—NYmag.com, Vulture, the Cut, and Grub Street—received visits from more than 14 million users per month. [6]

In 2018, New York Media, the parent company of New York magazine, instituted a paywall for all its online sites, [7] followed by layoffs in early 2019. [8] On September 24, 2019, Vox Media announced that it had purchased New York magazine and its parent company, New York Media. [1]


The New Republic

The New Republic began publishing in 1914. The first actively copyright-renewed issue is March 9, 1927 (v. 50 no. 640). The first actively copyright-renewed contribution is from December 1, 1926. (More details) It is still published today.

Persistent Archives of Complete Issues

  • 1914-1923: HathiTrust has volumes 1-32 and 35-36 freely readable online. Some other volumes may be searchable but not readable here.
  • 1915: The Internet Archive has a supplement to the March 6, 1915 issue, titled "Analysis of the Popular Vote on Constitutional and Legislative Proposals in the General Election of 1914".

Official Site / Current Material

  • The New Republic website has selected recent articles freely available, and full issues from the complete run are available to paid subscribers.

This is a record of a major serial archive. This page is maintained for The Online Books Page. (See our criteria for listing serial archives.) This page has no affiliation with the serial or its publisher.


Mediaite Q&A: Chris Lehmann Reflects on First Year as New Republic Editor and Talks Magazine’s Redesign

When Chris Lehmann became editor of The New Republic last year, he inherited a magazine that was somewhat rudderless. A series of tumultuous events — including but not limited to a disastrous four years under Chris Hughes’s ownership that resulted in a mass exodus of staffers who objected to the Facebook co-founder’s editorial philosophy — had left the liberal magazine in a weakened state.

But things now appear to have leveled out thanks to Lehmann’s stewardship. Over the past year, he has worked to reinvent The New Republic as a feisty political magazine of the left, adding new recurring features and hiring a number of gimlet-eyed political writers including Alex Pareene, Osita Nwanevu and Libby Watson.

Now, the magazine — first published in 1914 and owned by Tin House founder Win McCormack — is relaunching with a print and website redesign, and putting up a metered paywall to lure in new subscribers. The March issue will have a new look, while the website is to debut at the end of April, according to Lehmann.

Lehmann, who edited The Baffler before decamping to The New Republic, has also worked at Newsday, New York Magazine, The Washington Post, Congressional Quarterly and Yahoo. In a recent phone interview with Mediaite, he discussed his past year at The New Republic, his affinity for the magazine’s earlier issues, and the upcoming redesign. The conversation has been edited for length and clarity.

Mediaite: Tell me about the redesign and why you have decided to do it now.

There are a number of reasons. One is, we thought the magazine was due — when Chris Hughes purchased it, he embarked on a sort of half-completed version of a redesign, so as we pondered the options, we figured this was a good time to embark on a full-scale re-evaluation and redesign of the magazine and the website, which is scheduled to debut maybe at the end of April. [New Republic design director] Siung Tjia did a very good and sharp interim redesign that Pentagram was able to modify, which meant less work for them in the long run.

Aside from the look being updated, are there any more substantive changes that are going to be made to the magazine itself?

We did those ahead of the redesign thinking it would be better for the people taking [it on]. It’s a big project to redesign a magazine, so we did an interim re-envisioning of the front of the book, adding a couple of columnists — Kimberlé Crenshaw and Adolph Reed — and a bunch of new recurring features, including Kate Wagner on architecture and design and John Patrick Leary on the politics of language. [We also introduced] this floating sort of feature called “Oligarch of the Month,” where we write profile plutocrats.

You’re coming up on the end of your first year at The New Republic.

That is correct. I started last February, so it is a full year.

How has it been?

It’s been really good. We’re engaged fully with the national political debate, and who knows what’s happening in the Democratic primary season, but we’re trying to keep up. We have a bunch of new politics writers — Alex Pareene, Osita Nwanevu, Libby Watson, Nick Martin, and Melissa Gira Grant. We have a really top-notch team of writers covering national politics at a moment when national politics is the most urgent subject of the day. So I feel like we are sort of — I hate this expression, but, leaning in to The New Republic’s historic role as a forum for spirited liberal debates and political arguments as well as cultural criticism, which we’ve always excelled at. Laura Marsh, our literary editor, is doing a great job there. It’s been a very busy year, but a very productive one. And, of course, I could mention Walter Shapiro, who is our tireless, masterful campaign correspondent.

Are there any publications or places you have in mind when you think about this iteration of The New Republic?

Interestingly, I think mostly about, not your father’s New Republic, but your grandfather or great-grandfather’s New Republic.

Like the Walter Lippman-era New Republic?

Yeah, though I’d lean more toward Randolph Bourne and John Dewey, temperamentally — and Herbert Croly, of course, the original sort of intellectual founder of the magazine. I wind up quoting Herbert Croly a lot in my editor’s notes. What’s striking is the challenges that inspired Croly to write The Promise of American Life and launch TNR were things like the consolidation of industrial capitalism, and monopolies, and the question of mass immigration, and creating civic community in a mass culture that was growing at an exponential rate, and how a Jeffersonian model of liberalism could and could not rise to meet that challenge. With a lot of obvious caveats and updates, the same structural challenge holds true today. So I feel like we’re building on the magazine’s founding mission in a very direct way.

Anybody who’s been watching TNR over the past five or six years has witnessed a kind of tumultuous period for the publication, with Hamilton Fish, Guy Vidra — who you wrote about in The Baffler — Chris Hughes, Leon Wieseltier. Do you feel like things have evened out now?

I do. Obviously, I wasn’t here for a lot of the previous tumults, so I can’t comment on what it was like to be putting out the magazine and working here then, but I do feel like there is a kind of shared sensibility and an eagerness to get to the bottom of the core issues convulsing the political scene and the house of liberalism right now. I think we create controversy, but we’re very earnest in a way that I don’t think was always — I mean, my own first experience with TNR, kind of way back, was very arch and contrarian. The joke back then was you would hear pundits on talk shows say “even the liberal New Republic is coming out against the Clinton health care plan.” The magazine had been positioned, I think deliberately, as this sort of grown-up, know-it-all voice in liberal political debate.

And I’m not aspiring to revive that role. There’s much more up for grabs right now. Just looking at the enormous challenges raised by Donald Trump’s term in office, climate change, inequality — these are all issues where maybe the broad outlines of our policy direction are clear, but I would be lying if I had a Michael Kinsley-type, know-it-all answer to any of these questions. And we have to reproduce for our readers the same debates that are absorbing our own attention and making this political moment — as it truly is — a very urgent, very serious moment of reckoning. This is not a drill. And I think the staff shares that sense of urgency.

Speaking of past iterations of The New Republic, I remember when Jeet Heer wrote a long story on the magazine’s legacy on race. Do you feel like you need to content at all with some of the more unsavory aspects of TNR’s history, or do you not think about it?

No, our hands are full with the present challenges I was just describing. You know, there was a movie made about Stephen Glass, and those parts of the record are out there for anyone who wants to investigate them. But no, we’re a magazine of ideas and opinion very much keyed into this moment.

You worked at The Baffler before. Does this position feel substantially different?

Yeah. I love The Baffler — early in my career I happily worked for it without compensation. It’s always been a labor of love. But TNR has a kind of reach and prestige and earns authority in the marketplace of political ideas that is an important standard to uphold and maintain. So it is a different set of challenges. But I think, in liberal politics, we’re all in this moment of acute upheaval and uncertainty — so in that sense, any sort of intellectually honest publication is grappling with the same basic issues.

Any other developments you’d like to mention?

As part of the web redesign, we’re launching a bunch of verticals devoted to things like climate change and inequality. There’s a culture vertical and a national politics vertical where you’ll see more visually engaging and more thematically focused coverage of what we think are some of the most pressing issues of the day.


Contents

The original series by Marvel Comics began in 1977 with a six-issue comic adaptation of the original film and ran for 107 issues and three Annuals until 1986, featuring stories set between the original trilogy films, as well as adaptations of The Empire Strikes Back and Return of the Jedi. From 1985 to 1987, Marvel published two short-lived series based on the Star Wars animated series Droids and Ewoks. Briefly, the publishing rights went to Blackthorne Publishing, which released a three-issue run of 3-D comics from 1987 to 1988. Then, three years later, the rights to publish Star Wars comics were acquired by Dark Horse Comics, who published the limited series Dark Empire in 1991 and ultimately produced over 100 Star Wars titles until 2014.

Following the October 2012 acquisition of Lucasfilm by The Walt Disney Company, [1] [2] in January 2014, it was announced that the Star Wars comics license would return to Marvel Comics in 2015 (Disney having previously purchased Marvel Entertainment and the Marvel Comics brand and publishing in 2009). [3] [4] In April 2014, Lucasfilm rebranded the majority of the Star Wars Expanded Universe as Legends, only keeping the theatrical Skywalker saga and the 2008 Clone Wars theatrical film and television series as canon. Most media released since then is considered part of the same canon, including comics. [5] [6] [7]

Marvel (1977–1987) Edit

Marvel (1977–1987)
Star Wars #1–107 April 1977 – May 1986
Star Wars Annual #1–3 December 1979 – December 1983
Marvel Illustrated Books Star Wars #1–2 November 1981 – October 1982
Star Wars: Return of the Jedi #1–4 October 1983 – January 1984
Star Wars: Ewoks #1–14 May 1985 – July 1987
Star Wars: Droids #1–8 April 1986 – June 1987

Lucasfilm publicity supervisor Charles Lippincott approached publisher Stan Lee at Marvel Comics in 1975 about publishing a Star Wars comic book prior to the film's release. Lee initially declined to consider such a proposal until the film was completed, and was only persuaded otherwise in a second meeting arranged by Roy Thomas, who wanted to edit the series. Since movie tie-in comics rarely sold well at that time, Lee negotiated a publishing arrangement which gave no royalties to Lucasfilm until sales exceeded 100,000. [8] Thomas and artist Howard Chaykin adapted the events of the original film in issues #1–6 of Star Wars, [9] with the first issue released for sale on April 12, 1977. [10] [11] [b] According to former Marvel editor-in-chief Jim Shooter, the strong sales of Star Wars comics saved Marvel financially in 1977 and 1978. [13] The series began featuring original stories with issue #7 (January 1978). Writer Archie Goodwin and artist Carmine Infantino took over the series as of #11 (May 1978). [14] The series was one of the industry's top selling titles in 1979 and 1980. [15] The 100,000 copy sales quota was surpassed quickly, allowing Lippincott to renegotiate the royalty arrangements. [16] A six-issue adaptation of The Empire Strikes Back by Goodwin and artists Al Williamson and Carlos Garzon appeared in issues #39–44 (September 1980 – February 1981). [17] Writer David Michelinie and artist Walt Simonson became the new creative team with issue #51 (September 1981). [18] Ron Frenz became the regular artist of the title starting with issue #71 (May 1983). [19] As of 1984, the Star Wars series was primarily written by Jo Duffy, and art for the final year and a half of the series was by Cynthia Martin. [18] Marvel published the series until 1986, lasting 107 issues and three Annuals. [20]

The first original Star Wars stories not directly adapted from the films to appear in print form were Star Wars comics serialized in the Marvel magazine Pizzazz (1977–1979). [21] The first story arc, titled "The Keeper's World", was by Thomas, Chaykin, and Tony DeZuniga. [c] The second story arc, entitled "The Kingdom of Ice", was by Goodwin, Simonson, Klaus Janson, Dave Cockrum, and John Tartaglione. The final two chapters were scheduled to be printed in issues #17 and 18, but the magazine was cancelled after issue #16. Marvel UK reprinted "The Keeper's World" in its Star Wars Weekly #47–50, and "The Kingdom of Ice" (including the previously unreleased chapters) in its Star Wars Weekly #57–60 between 1978 and 1979. [24] [d]

Marvel's Star Wars comics were reprinted in the U.K. as a weekly black-and-white comics anthology. [e] The weekly U.K. issues split the stories from the U.S. monthly issues into smaller installments, and it usually took around three weekly issues to complete a U.S. monthly issue. The U.K. comic also published original Star Wars stories by British creators, including Alan Moore. [29] [f] Star Wars Weekly #1 was published with a free cut-out X-wing fighter on February 8, 1978. [31] It became The Empire Strikes Back Weekly from issue #118 in May 1980, and then became a monthly title from issue #140 in November 1980, reverting to the title Star Wars with issue #159 in July 1982. [g] The monthly comic ran until issue #171 in July 1983, when the numbering was reset at #1 for Return of the Jedi Weekly, which was the first time the U.K. comic had been printed in color. [33] [34] [35] This is the title and format that remained until the last issue (#155) was published in June 1986. Further original content was published in issues #94–99, 104–115, 149 and 153–157. [27] Throughout this eight-year period, Marvel UK also published several Star Wars Annuals and Specials.

Marvel's adaptation of Return of the Jedi (October 1983 – January 1984) appeared in a separate four-issue limited series [36] as well as in Marvel Super Special #27 [37] [38] and in a mass market paperback. [39] From 1985 to 1987, the animated children's series Ewoks and Droids inspired comic series from Marvel's Star Comics line. [40] [41] [42]

Pendulum Press (1978) Edit

In 1978, Pendulum Press, under their educational series Contemporary Motivators, also published a 31-page loose adaptation of Star Wars by Linda A. Cadrain and Charles Nicholas. Produced as part of a package which included an audio tape and a film strip, the comic was specifically designed for classroom use, with typeset instead of hand lettering, and vocabulary appropriate for children. [43]

Newspaper strip (1979–1984) Edit

A newspaper strip was published between 1979 and 1984, distributed by Los Angeles Times Syndicate and the Watertown Daily Times. The creative teams were revolving, but included Archie Goodwin, Williamson, Russ Manning, Steve Gerber, Alfredo Alcala, Carlos Garzon and letterer Ed King. Goodwin switched from writing Marvel's Star Wars series to the weekly newspaper comic strip after the release of The Empire Strikes Back (1980), becoming the first writer to draw from more than just the original film in establishing the era set between the two films. [44] The strip was based on the storyline and characters established in the original trilogy, but never adapted any of the films, instead fleshing out the history between them. [ citation needed ] From October 1980 to February 1981, Goodwin and Alcala adapted Brian Daley's Han Solo at Stars' End (1979). [45]

In 1991, Russ Cochran published a 2500-copy limited run of a three-volume hardcover boxset of all of Goodwin and Williamson's Star Wars comic strips from 1981 to 1984, [46] signed by both creators, and featuring new cover illustrations by the latter. [47] Dark Horse Comics collected colorized compilations of the newspaper strip in its Classic Star Wars series from 1992 to 1994. [48] Between 2017 and 2018, The Library of American Comics published a three-volume reprint series of the complete comic strip.

Blackthorne (1987–1988) Edit

Blackthorne Publishing released a three-issue series called Star Wars 3D from December 1987 to February 1988. The comics were later reprinted in a black-and-white, non-3-D format by Dark Horse in their 2013 Star Wars Omnibus: Wild Space, Volume 1.

Dark Horse (1991–2014) Edit

Adaptations Edit

Film and television adaptations Edit
Dark Horse
Film
Star Wars Episode I: The Phantom Menace #1–4 May 1999
Star Wars Episode II: Attack of the Clones #1–4 April–May 2002
Star Wars Episode III: Revenge of the Sith #1–4 March–April 2005
The Clone Wars Legacy
Star Wars: Darth Maul – Son of Dathomir #1–4 May–August 2014

Dark Horse also published miniseries adapting Episode I: The Phantom Menace, Episode II: Attack of the Clones, Episode III: Revenge of the Sith . From 1998 to 1999, Dark Horse produced Star Wars manga, adapting the original trilogy and The Phantom Menace as manga with all the typical narrative and stylistic characteristics of the form.

Title Material collected Year Pages Format ISBN
Darth Maul: Son of Dathomir (trade paper back) Darth Maul: Son of Dathomir #1–4, material from Star Wars Tales #7–9 November 2017 136 pages Softcover ISBN 1-30290-846-4

Legends novel adaptations Edit
Dark Horse
Thrawn trilogy
Star Wars: Heir to the Empire #1–6 October 1995 – April 1996
Star Wars: Dark Force Rising #1–6 May–October 1997
Star Wars: The Last Command #1–6 November 1997 – July 1998
Other
Star Wars: Splinter of the Mind's Eye #1–4 December 1995 – June 1996
Classic Star Wars: Han Solo at Stars' End #1–3 March–May 1997

Between 1995 and 1998, Dark Horse published adaptations of the Thrawn trilogy of novels by Timothy Zahn.

Original series (Dark Horse comics) Edit

Dark Horse subsequently launched dozens of series set after, in between, and before the original film trilogy, including Tales of the Jedi (1993–1998), X-wing: Rogue Squadron (1995–1998), Republic (1998–2006), the mostly non-canonical Tales (1999–2005), Empire (2002–2006), Knights of the Old Republic (2006–2010), and Legacy (2006–2010) [49] [50]

Dark Empire Edit
Dark Horse
Star Wars: Dark Empire #1–6 December 1991 – October 1992
Star Wars: Dark Empire II #1–6 December 1994 – May 1995
Star Wars: Empire's End #1–2 October–November 1995

In the late 1980s, writer Tom Veitch and artist Cam Kennedy secured a deal to produce a Star Wars comic for Archie Goodwin at Epic Comics, a Marvel imprint. After the project was announced, Goodwin left Marvel, which dropped the comic. Dark Horse Comics subsequently published it as the Dark Empire sequence (1991–1995). [51]

Classic Star Wars Edit

Classic Star Wars is a series of comics which included compilations of weekly installments of the newspaper comics written by Archie Goodwin with art by Al Williamson. [52]

Dark Horse
Classic Star Wars #1–20 August 1992 – June 1994
Classic Star Wars: The Early Adventures #1–9 August 1994 – April 1995
Classic Star Wars: Devilworlds #1–2 August–September 1996

X-wing Edit

Star Wars: X-wing – Rogue Squadron is a comic book series of 35 issues released between 1995 and 1998. It follows the titular squadron beginning about one year after the events of Return of the Jedi.

X-wing – Rogue Leader is a three-part comic book series set approximately one week after the end of Return of the Jedi. Several participants in the destruction of the second Death Star are sent, a little while after the events of Bakura, to scout out Imperial activity in Corellian space.

Shadows of the Empire Edit
Dark Horse
Star Wars: Shadows of the Empire #1–6 May–October 1996
Star Wars: Shadows of the Empire – Evolution #1–5 February–June 1998
Crimson Empire Edit
Dark Horse
Star Wars: Crimson Empire #1–6 December 1997 – May 1998
Star Wars: Crimson Empire II – Council of Blood #1–6 November 1998 – April 1999
Star Wars: Crimson Empire III – Empire Lost #1–6 October 2011 – April 2012

The Crimson Empire trilogy follows Kir Kanos, one of Palpatine's Imperial guards, beginning about seven years after the events of Return of the Jedi. Set shortly after Dark Empire, it relates that Imperial Guard Carnor Jax betrayed the cloned Palpatine and his guards in an attempt to consolidate his own power. Kanos swears to stop him, coming close to New Republic Intelligence agent Mirith Sinn in the process.

Crimson Empire II introduces Nom Anor, who served as the model for the Yuuzhan Vong in The New Jedi Order, which he also appears in. [53]

Qui-Gon & Obi-Wan Edit
Dark Horse
Star Wars: Qui-Gon & Obi-Wan – Last Stand on Ord Mantell #1–3 December 2000 – March 2001
Star Wars: Qui-Gon & Obi-Wan – The Aurorient Express #1–2 February–June 2002

Qui-Gon & Obi-Wan: Last Stand on Ord Mantell is a three-part comics series written by Ryder Windham, published by Dark Horse Comics between December 2000 and March 2001. The story features Qui-Gon Jinn and Obi-Wan Kenobi five years before Episode I – The Phantom Menace.

Qui-Gon & Obi-Wan: The Aurorient Express is a two-part comics series written by Mike Kennedy, and published by Dark Horse Comics between February 2002 and June 2002. The series is set in the Star Wars galaxy six years before The Phantom Menace. A luxury cloud cruiser has slipped out of control and is going to crash over Yorn Skot. The two Jedi must board the runaway ship and regain control.

Knights of the Old Republic and The Old Republic Edit
Dark Horse
Star Wars: Knights of the Old Republic #0–50 January 2006 – February 2010
Star Wars: The Old Republic #1–11 July 2010 – October 2011
Star Wars: Knights of the Old Republic – War #1–5 January–May 2012

Star Wars: Knights of the Old Republic and Star Wars: The Old Republic are series set around the events of the game series of the same name, exploring its backstory.

Legacy Edit
Dark Horse
Star Wars: Legacy #1–50 June 2006 – August 2010
Star Wars: Legacy – War #1–6 December 2010 – May 2011
Star Wars: Legacy Volume 2 #1–18 March 2013 – August 2014
Star Wars: The Clone Wars Edit
Dark Horse
Star Wars: Clone Wars Adventures #1–10 (graphic novels) July 2004 – December 2007
Star Wars: The Clone Wars #1–12 September 2008 – January 2010
Star Wars: The Clone Wars #1–11 (graphic novels) September 2008 – June 2013
Star Wars: The Clone Wars – Act on Instinct #1–25 3-page September 2009 – May 2010
Star Wars: The Clone Wars – The Valsedian Operation #1–26 3-page September 2010 – April 2011
Other original series (Dark Horse comics) Edit
  • Star Wars: Agent of the Empire is a series set a few years before Episode IV – A New Hope, and focusing on an Imperial Intelligence agent named Jahan Cross. Trade paperbacks: Volume 1: Iron Eclipse (collects Star Wars: Agent of the Empire – Iron Eclipse #1–5, 128 pages, October 2012, 1-59582-950-4)
  • Star Wars: Invasion is a series set during the early days of the Yuuzhan Vong War, and dealing with how the New Republic is faring. The series, published by Dark Horse Comics, was written by Tom Taylor, [54] and illustrated by Colin Wilson[55] with color by Wes Dzioba. The first printed issue was published on July 1, 2009. Published by Dark Horse Comics, the series was set in the New Jedi Order era and depict the events of the Yuuzhan Vong War over 16 issues, plus a prologue issue. In January 2010, Star Wars: Invasion #0 was nominated for a 'Diamond Gem Award' in the '2009 Comic Book of the Year Over $3.00' category. [56]
  • Star Wars: Dark Times, is a series set in the years after Episode III – Revenge of the Sith, and showing former characters from Star Wars: Republic after Order 66.
  • Star Wars: Knight Errant, a series set 1,000 years before The Phantom Menace, and dealing with a lone Jedi's war against the Sith.
  • Star Wars: Blood Ties, a series set in varying time periods that shows the bonds between certain characters in the saga, such as Jango Fett and Boba Fett.
  • Star Wars: Darth Vader, a series set almost immediately after Revenge of the Sith, and showing how Darth Vader is dealing with his past as Anakin Skywalker.
  • Star Wars: Dawn of the Jedi, a series set thousands of years before Episode I – The Phantom Menace, and showing the origins of the Jedi and the Sith.
  • Star Wars is set shortly after A New Hope, focusing on the main characters of the original trilogy.

Limited series (Dark Horse comics) Edit

After Knights of the Old Republic and Legacy ended in 2010, instead of publishing ongoing series, Dark Horse began publishing a "series of miniseries", including:

  • Star Wars: Jedi, a series set a few decades before The Phantom Menace, and dealing with Qui-Gon Jinn in an undocumented area of his life.

One-shots (Dark Horse comics) Edit

Routine Valor
Publication information
Publishing companyDark Horse Comics
SubjectStar Wars
GenreScience fiction
FormatOne-shot
Release date(s)May 6, 2006
CountryUnited States
LanguageEnglish
No. of pages10
Expanded Universe
EraRise of the Empire
Galactic Year20 ABY
Script writerRandy Stradley
Cover artist(s)Sean McNally
Artist(s)Doug Wheatley
Colorist(s)Ronda Pattison
Letterer(s)Michael David Thomas
Designer(s)Keith Wood
Editor(s)Randy Stradley
Assistant editor(s)Dave Marshall
Publisher(s)Mike Richardson
Dark Horse
Classic Star Wars: The Vandelhelm Mission one-shot March 1995
Star Wars: Tales from Mos Eisley one-shot March 1996
Star Wars: This Crumb for Hire one-shot 10-page comic August 1996
Star Wars: The Protocol Offensive one-shot September 1997
Star Wars: Shadow Stalker one-shot November 1997
Star Wars: The Jabba Tape one-shot December 1998
Star Wars: Hard Currency one-shot 8-page comic March 2000
Star Wars: Aurra's Song one-shot 12-page comic June 2000
Star Wars: Heart of Fire one-shot 3-page comic May 2001 – July 2002
Star Wars: Poison Moon one-shot 6-page comic February–May 2002
Star Wars: Jango Fett one-shot TPB March 2002
Star Wars: Zam Wesell one-shot TPB March 2002
Star Wars: A Valentine Story one-shot February 2003
Star Wars: Brothers in Arms one-shot May 2005
Star Wars: Routine Valor one-shot 10-page comic May 2006
Star Wars: Clone Wars (PhotoComic) one-shot TPB May 2008
Star Wars: The Clone Wars – The Gauntlet of Death one-shot 8-page comic May 2009
Star Wars: Tales from the Clone Wars one-shot TPB August 2010
Star Wars: The Third Time Pays for All one-shot 8-page comic April 2011
Star Wars: The Art of the Bad Deal one-shot 10-page comic May 2012
Star Wars: The Assassination of Darth Vader one-shot 8-page comic May 2013
Star Wars: Ewoks – Shadows of Endor one-shot TPB November 2013
The Force Unleashed
Star Wars: The Force Unleashed one-shot TPB August 2008
Star Wars: The Force Unleashed II one-shot TPB September 2010

Routine Valor is a comic book one-shot released on May 6, 2006 by Dark Horse Comics for Free Comic Book Day 2006 as part of a Star Wars-Conan flipbook. The story is set during the end of the Clone Wars, approximately one year before the events of Revenge of the Sith (and 20 years before the events of A New Hope). Characters include Obi-Wan Kenobi, along with Clone troopers Commander Cody, CT-8867, CT-8868, and CT-8869

Alternate storylines Edit

The Star Wars
Publication information
PublisherDark Horse Comics
ScheduleMonthly
FormatOngoing series
GenreScience fiction
Publication date2013–2014
No. of issues8
Creative team
Written byJ.W. Rinzler [57]
Artist(s)Mike Mayhew
Penciller(s)Mike Mayhew
Colorist(s)Rain Beredo
Editor(s)Randy Stradley
Dark Horse
Star Wars Infinities #1–12 May 2001 – March 2004
Star Wars: Visionaries one-shot TPB April 2005
The Star Wars #0–8 September 2013 – May 2014

While non-canonical to the Expanded Universe, Star Wars Infinities shows alternate storylines for the original trilogy films, and Visionaries featured stories by artists who worked on Revenge of the Sith.

The Star Wars is a non-canonical series based on George Lucas's discarded 1974 draft for the original film. Adapted by J. W. Rinzler, [58] Dark Horse released it as an eight-part comic book series beginning in September 2013. In this version, Luke Skywalker is more mature and a Jedi, and the main protagonist is named Annikin Starkiller. [59] [60] The series received mostly positive reviews. [61] [62] [63]

Return to Marvel (2015–present) Edit

Following the acquisition of Lucasfilm by The Walt Disney Company in 2012, [1] [2] it was announced in January 2014 that the Star Wars comics license would return to Marvel Comics in 2015. [4] Disney had purchased Marvel's parent company, Marvel Entertainment, in 2009. [3] Meanwhile, with the sequel film The Force Awakens in production, most of the licensed Star Wars novels and comics produced since the originating 1977 film Star Wars were rebranded as Star Wars Legends and declared non-canon to the franchise in April 2014. [5] [6] [7]

Early reports in May 2014 suggested that Marvel would announce two new ongoing Star Wars comic series at the San Diego Comic-Con. [64] [65] In July 2014, Marvel announced three new series at SDCC: Star Wars, Star Wars: Darth Vader, and the limited series Star Wars: Princess Leia. [66] [67] [68]

Ongoing series Edit

The initial series, Star Wars, was released in January 2015, [69] [70] with Darth Vader debuting in February. [71] [72]

The ongoing series Star Wars: Poe Dameron was announced in January 2016. [73] Featuring X-wing fighter pilot Poe Dameron introduced in The Force Awakens, the series debuted on April 6, 2016. [74] A six-issue comic adaptation of The Force Awakens by Chuck Wendig began publication in June 2016. [75] In 2017. A second volume of the Marvel Darth Vader comic, subtitled Dark Lord of the Sith, began in June 2017 from writer Charles Soule and artist Giuseppe Camuncoli. [76]

In August 2019, Marvel announced that the main Star Wars series that started in 2015, which has narratively caught up to the timeframe of the events of The Empire Strikes Back, would end in November 2019 with issue #75. [77] A 56-page one-shot called Star Wars: Empire Ascendant, written by Soule, Greg Pak, Simon Spurrier, and Ethan Sacks, was released in December 2019 to wrap up the series. [78]

At New York Comic Con in October 2019, Lucasfilm and Marvel announced the main Star Wars title would relaunch with a new ongoing series beginning in January 2020. [79] Written by Soule, the flagship series will explore the time between The Empire Strikes Back and Return of the Jedi. It will expand on stories like how the demoralized ragtag band of rebels grows into the massive fleet that attacks the second Death Star, how the plan to rescue Han Solo from Jabba the Hutt is formed, how Leia balances her personal desires to save Han with her responsibilities to the Rebellion, Luke's growth as a Jedi while coming to an understanding of Darth Vader's reveal of his heritage, and the evolution of Lando Calrissian from selfish betrayer to trusted general. [79]

First announced as Project Luminous at Star Wars Celebration in April 2019, full details of a publishing initiative called Star Wars: The High Republic were revealed in a press conference in February 2020. Involving the majority of the current officially licensed publishers, a new era set 200 years before the Skywalker Saga will be explored in various books and comics, including an ongoing Marvel title written by Cavan Scott. [80]

Marvel (2015–present)
Ongoing series
Star Wars (2015) #1–75, four Annuals January 2015 – November 2019
Star Wars: Darth Vader #1–25, one Annual February 2015 – October 2016
Star Wars: Kanan #1–12 April 2015 – March 2016
Star Wars: Poe Dameron #1–31, two Annuals April 2016 – September 2018
Star Wars: Doctor Aphra #1–40, three Annuals December 2016 – December 2019
Star Wars: Darth Vader (vol. 2) #1–25, one Annual June 2017 – December 2018
Star Wars (1977) #108 May 2019 [81]
Star Wars (2020) #1–present January 2020 – present [79]
Star Wars: Darth Vader (vol. 3) #1-present February 2020 – present
Star Wars: Doctor Aphra (vol. 2) #1-present May 2020 – present
Star Wars: Bounty Hunters #1-present May 2020 – present
Star Wars: The High Republic #1-present January 2021 – present
Ongoing series related one-shots
Star Wars: Vader Down one-shot November 2015
Star Wars: Screaming Citadel one-shot May 2017
Star Wars: Empire Ascendant one-shot [78] December 2019
Star Wars Saga one-shot [82] December 2019

Trade paperback collections Edit
Star Wars (2015) Edit
Title Material collected Year Pages Format ISBN
Star Wars Vol. 1: Skywalker Strikes Star Wars #1–6 October 2015 160 pages Softcover 0-78519-213-1
Star Wars Vol. 2: Showdown on Smuggler's Moon Star Wars #7–12 January 2016 144 pages Softcover 0-78519-214-X
Star Wars Vol. 3: Rebel Jail Star Wars #15–19 Annual #1 August 2016 136 pages Softcover 0-78519-983-7
Star Wars Vol. 4: Last Flight of the Harbinger Star Wars #20–25 January 2017 144 pages Softcover 0-78519-984-5
Star Wars Vol. 5: Yoda's Secret War Star Wars #26–30 Annual #2 July 2017 145 pages Softcover 1-30290-265-2
Star Wars Vol. 6: Out Among the Stars Star Wars #33–37 Annual #3 December 2017 112 pages Softcover 1-30290-553-8
Star Wars Vol. 7: The Ashes of Jedha Star Wars #38–43 April 2018 136 pages Softcover 1-30291-052-3
Star Wars Vol. 8: Mutiny at Mon Cala Star Wars #44–49 August 2018 144 pages Softcover 1-30291-053-1
Star Wars Vol. 9: Hope Dies Star Wars #50–55 Annual #4 December 2018 185 pages Softcover 1-30291-054-X
Star Wars Vol. 10: The Escape Star Wars #56–61 April 2019 136 pages Softcover 1-30291-449-9
Star Wars Vol. 11: The Scourging of Shu-Torun Star Wars #62–67 August 2019 144 pages Softcover 1-30291-450-2
Star Wars Vol. 12: Rebels and Rogues Star Wars #68-72 November 2019 120 pages Softcover 1-30291-451-0
Star Wars Vol. 13: Rogues and Rebels Star Wars #73-75 Star Wars: Empire Ascendant #1 March 2020 128 pages Softcover 1-30292-168-1
Star Wars: From the Journals of Obi-Wan Kenobi Star Wars #7, 15, 20, 26–30 material from Star Wars #37 November 2020 192 pages Softcover 1-30292-528-8
Star Wars (2020) Edit
Title Material collected Year Pages Format ISBN
Star Wars Vol. 1: The Destiny Path Star Wars #1–6 November 2020 136 pages Softcover 1-30292-078-2
Star Wars Vol. 2: Operation Starlight Star Wars #7-11 April 2021 120 pages Softcover ISBN 1-30292-079-0
Darth Vader (2015) Edit
Title Material collected Year Pages Format ISBN
Darth Vader Vol. 1: Vader Darth Vader (vol. 2) #1–6 October 2015 160 pages Softcover 0-78519-255-7
Darth Vader Vol. 2: Shadows and Secrets Darth Vader (vol. 2) #7–12 January 2016 136 pages Softcover 0-78519-256-5
Darth Vader Vol. 3: The Shu-torun War Darth Vader (vol. 2) #16–19, Annual (vol. 2) #1 August 2016 128 pages Softcover 0-78519-977-2
Darth Vader Vol. 4: End of Games Darth Vader (vol. 2) #20–25 December 2016 168 pages Softcover 0-78519-978-0
Darth Vader Darth Vader (vol. 2) #1–25 Annual (vol. 2) #1 Vader Down #1 The Misadventures of Triple-Zero and BeeTee Coda Star Wars (vol. 2) #13–14 September 2017 736 pages Hardcover 978-1-302-90821-8
Darth Vader: Dark Lord of the Sith Edit
Title Material collected Year Pages Format ISBN
Darth Vader: Dark Lord of the Sith Vol. 1: Imperial Machine Darth Vader: Dark Lord of the Sith #1–6 December 2017 144 pages Softcover 1-30290-744-1
Darth Vader: Dark Lord of the Sith Vol. 2: Legacy's End Darth Vader: Dark Lord of the Sith #7–12 April 2018 136 pages Softcover 1-30290-745-X
Darth Vader: Dark Lord of the Sith Vol. 3: The Burning Seas Darth Vader: Dark Lord of the Sith #13–18 September 2018 136 pages Softcover 1-30291-056-6
Darth Vader: Dark Lord of the Sith Vol. 4: Fortress Vader Darth Vader: Dark Lord of the Sith #19–25 January 2019 136 pages Softcover 1-30291-057-4
Darth Vader: Dark Lord of the Sith Vol. 1 Darth Vader: Dark Lord of the Sith #1–12 November 2018 280 pages Hardcover 1-30291-360-3
Darth Vader (2020) Edit
Title Material collected Year Pages Format ISBN
Darth Vader Vol. 1: Dark Heart of the Sith Darth Vader (vol. 3) #1–5 November 2020 128 pages Softcover 1-30292-081-2
Doctor Aphra Edit
Title Material Collected Year Pages Format ISBN
Doctor Aphra Vol. 1: Aphra Doctor Aphra #1–6 July 2017 144 pages Softcover 978-1302906771
Doctor Aphra Vol. 2: Doctor Aphra and the Enormous Profit Doctor Aphra #9–13, Annual #1 February 2018 168 pages Softcover 978-1302907631
Doctor Aphra Vol. 3: Remastered Doctor Aphra #14–19 July 2018 136 pages Softcover 978-1302911522
Doctor Aphra Vol. 4: The Catastrophe Con Doctor Aphra #20–25 January 2019 152 pages Softcover 978-1302911539
Doctor Aphra Vol. 5: Worst Among Equals Doctor Aphra #26–31 June 2019 144 pages Softcover 978-1302914875
Doctor Aphra Vol. 1 Doctor Aphra #1–8 Star Wars: The Screaming Citadel #1 Star Wars (2015) #31–32 October 2018 272 pages Hardcover 978-1302913212
Kanan Edit
Title Material collected Year Pages Format ISBN
Kanan Vol. 1: The Last Padawan Kanan #1–6 November 2015 144 pages Softcover 0-78519-589-0
Kanan Vol. 2: First Blood Kanan #7–12 May 2016 144 pages Softcover 0-78519-589-0
Poe Dameron Edit
Title Material collected Year Pages Format ISBN
Poe Dameron Vol. 1: Black Squadron Poe Dameron #1–6 December 2016 144 pages Softcover 1-30290-110-9
Poe Dameron Vol. 2: The Gathering Storm Poe Dameron #8–13 June 2017 144 pages Softcover 1-30290-111-7
Poe Dameron Vol. 3: Legends Lost Poe Dameron #7, #14–19 November 2017 160 pages Softcover 1-30290-742-5
Poe Dameron Vol. 4: Legend Found Poe Dameron #20–25 Annual #1 May 2018 168 pages Softcover 1-30290-743-3
Poe Dameron Vol. 5: The Spark and the Fire Poe Dameron #26–31 Annual #2 December 2018 160 pages Softcover 1-30291-170-8
Star Wars: Bounty Hunters Edit
Title Material collected Year Pages Format ISBN
Star Wars: Bounty Hunters Vol. 1: Galaxy's Deadliest Star Wars: Bounty Hunters #1-5 November 2020 136 pages Softcover 1-30292-083-9
Crossovers Edit
Title Material collected Year Pages Format ISBN
Vader Down Vader Down #1, Star Wars (2015) #13–14, Darth Vader (2015) #13–15 April 2016 152 pages Softcover 0-78519-789-3
Screaming Citadel Screaming Citadel #1, Star Wars (2015) #31-32, Doctor Aphra (2016) #7-8 October 2017 136 pages Softcover ISNB 978-1302906788

Limited series and one-shots Edit

Princess Leia released in March 2015. [66] [83] Chewbacca (October–December 2015), Obi-Wan & Anakin (January–May 2016), and Han Solo (June–November 2016), as well as the one-shots Vader Down (November 2015) and C-3PO (April 2016). [84] Several other limited series followed, including Kanan (April 2015 – March 2016), Lando (July–October 2015), Shattered Empire (September–October 2015), [85]

In 2017, limited series Darth Maul, Mace Windu, and Captain Phasma, as well as further one-shots, continued to expand the Star Wars universe. The comic adaptation of Rogue One: A Star Wars Story was also released. [76] Both the Poe Dameron and the second Darth Vader comics ended their runs in 2018, in September and December respectively. [86]

In 2018, Marvel adapted the events of author Timothy Zahn's Star Wars: Thrawn novel in a limited series. [87] The character had been introduced by Zahn's Heir to the Empire trilogy in the early 1990s, now part of the Legends line, and was re-introduced in the new canon in Star Wars Rebels. Adaptations of both The Last Jedi [88] and Solo: A Star Wars Story [89] were released, and the timeframe of Solo was explored further in the Beckett one-shot [90] and in limited series featuring young Lando (Double or Nothing) [91] and Han's time in the Empire (Imperial Cadet). [92] Marvel announced in October 2018 that a five-issue, Wendig penned miniseries, Star Wars: Shadow of Vader, would be released starting in January 2019. [86] The series would be an anthology told from the perspectives of those who had encountered Darth Vader. After three issues had been written, Wendig was removed from the miniseries (and future projects) by Marvel over concerns of his use of social media, and ultimately the miniseries was cancelled. [93] In December 2018, a new miniseries with a similar premise, Star Wars: Vader – Dark Visions, was announced to be written by Dennis Hopeless with art from Paolo Villanelli and Brian Level and was launched in March 2019. [94]

For 2019, Marvel announced a number of new limited series. As a companion to Star Wars: Alphabet Squadron, [95] a novel by author Alexander Freed centered on a New Republic squadron of various Rebel ships (an A-wing interceptor, B-wing heavy assault fighter, U-wing transport, X-wing starfghter, and Y-wing bomber) in the wake of the Battle of Endor, a five-issue series called Star Wars: TIE Fighter explores the fallout of the battle from both the New Republic and Imperial Remnant sides. [96] A five-issue miniseries titled Star Wars: Galaxy's Edge will feature stories of the Black Spire Outpost on the Outer Rim planet Batuu and tie into the theme park experiences set to open at Disneyland and Walt Disney World in 2019. [97] In May 2019, a one-shot by writer Matthew Rosenberg and various artists called Star Wars #108 Crimson Forever picks up the story of the original Marvel Star Wars comic run that ended in 1986. [81]

In connection with the forthcoming video game Star Wars Jedi: Fallen Order by Electronic Arts and Respawn Entertainment, a five-issue miniseries called Star Wars Jedi: Fallen Order – Dark Temple was announced in June 2019 to start publishing in September. [98] At a panel discussing the Journey to The Rise of Skywalker publishing program at San Diego Comic-Con 2019, the four-issue Star Wars: Journey to The Rise of Skywalker – Allegiance miniseries was announced. [99] It will help cover a one-year period during the time between The Last Jedi and The Rise of Skywalker. Charles Soule was announced to be writing a four-issue miniseries exploring the backstory of Ben Solo's transition into Kylo Ren. Star Wars: The Rise of Kylo Ren premiered on December 16, 2019. [99]

Marvel (2015–present)
One-shots
Movie related
Star Wars: C-3PO one-shot June 2016
Star Wars: Droids Unplugged one-shot June 2017
Star Wars: Rogue One – Cassian & K-2SO Special August 2017
Star Wars: The Last Jedi – Storms of Crait one-shot [100] December 2017
Star Wars: The Last Jedi – DJ – Most Wanted one-shot [101] January 2018
Star Wars: Beckett one-shot [90] August 2018
Marvel (2015–present)
Limited series
Film adaptations
Star Wars: The Force Awakens #1–6 June–November 2016
Rogue One: A Star Wars Story #1–6 April–September 2017
Star Wars: The Last Jedi Adaptation #1–6 [88] May–September 2018
Solo: A Star Wars Story #1–7 [89] October 2018 – April 2019
Original storylines
Star Wars: Princess Leia #1–5 March–June 2015
Star Wars: Lando #1–5 July–October 2015
Star Wars: Shattered Empire #1–4 September–October 2015
Star Wars: Chewbacca #1–5 October–December 2015
Star Wars: Obi-Wan & Anakin #1–5 January–May 2016
Star Wars: Han Solo #1–5 June–November 2016
Star Wars: Darth Maul #1–5 February–July 2017
Star Wars: Jedi of the Republic – Mace Windu #1–5 August–December 2017
Star Wars: Captain Phasma #1–4 September–October 2017
Star Wars: Thrawn #1–6 [87] February–July 2018
Star Wars: Lando – Double or Nothing #1–5 [91] May–September 2018
Star Wars: Han Solo – Imperial Cadet #1–5 [92] November 2018 – March 2019
Star Wars: Vader – Dark Visions #1–5 [102] March–June 2019
Star Wars: Galaxy's Edge #1–5 [97] April–August 2019
Star Wars: TIE Fighter #1–5 [96] April–August 2019
Star Wars: Target Vader #1–6 [103] July–December 2019
Star Wars Jedi: Fallen Order – Dark Temple #1–5 [98] September–December 2019
Star Wars: Journey to The Rise of Skywalker – Allegiance #1–4 [99] October 2019
Star Wars: The Rise of Kylo Ren #1–4 [99] December 2019–March 2020
Star Wars: War of the Bounty Hunters #1–6 [104] May–October 2021

Age of Star Wars maxiseries Edit

At San Diego Comic-Con 2018, Marvel announced Age of Star Wars, a 27-issue maxiseries starting in December 2018 that would span all three eras of the Star Wars saga. [105] [106] Star Wars: Age of Republic by writer Jody Houser will focus on the time of the Galactic Republic and the Clone Wars during the prequel trilogy era Star Wars: Age of Rebellion by writer Greg Pak will focus on the Galactic Civil War between the Empire and the Rebel Alliance during the original trilogy era and Star Wars: Age of Resistance by writer Tom Taylor will focus on the fall of the New Republic and the struggle between the Resistance and the First Order during the sequel trilogy era. At the time of release, Age of Republic was revealed to have eight one-shots spotlighting individual characters and a special anthology issue with up to four stories by different creative teams. [107]

Reprints Edit

In mid-2014, Marvel stated that it would publish collected volumes of past Star Wars comics, beginning with Volume 1 of Star Wars: The Original Marvel Years in January 2015, [111] and Volume 1 of Star Wars Legends Epic Collection: The Empire in April 2015, which reprinted Dark Horse's Star Wars comics. [112] [113] [114] [115] In December 2019, Marvel reprinted the first issue of the 1977 series as Star Wars #1 – Facsimile Edition. [116]

A series of reprints under the title True Believers: Star Wars was released in April and May 2019, celebrating Marvel's 80th anniversary. [109] [81] A second collection of True Believers: Star Wars titles was released in December 2019. [116]

True Believers: Star Wars Reprints
True Believers: Star Wars – Skywalker Strikes #1 [109]
Reprints Star Wars (2015) #1
April 2019
True Believers: Star Wars – The Ashes of Jedha #1 [109]
Reprints Star Wars (2015) #38
April 2019
True Believers: Star Wars – Darth Vader #1 [109]
Reprints Star Wars: Darth Vader (2017) #1
April 2019
True Believers: Star Wars – The Original Marvel Years #107 [109]
Reprints Star Wars (1977) #107
April 2019
True Believers: Star Wars – Ewoks #1 [81]
Reprints Star Wars: Ewoks (1985) #1
May 2019
True Believers: Star Wars – Thrawn #1 [81]
Reprints Star Wars: Thrawn (2018) #1
May 2019
True Believers: Star Wars – Darth Maul #1 [81]
Reprints Star Wars: Darth Maul (2017) #1
May 2019
True Believers: Star Wars – Rebel Jail #1 [81]
Reprints Star Wars (2015) #16
May 2019
True Believers: Star Wars – Death Probe #1 [116]
Reprints Star Wars (1977) #45
December 2019
True Believers: Star Wars – Vader vs. Leia #1 [116]
Reprints Star Wars (1977) #48
December 2019
True Believers: Star Wars – According to Droids #1 [116]
Reprints Star Wars: Droids (1986) #6
December 2019
True Believers: Star Wars – The Hunter #1 [116]
Reprints Star Wars (1977) #16
December 2019
True Believers: Star Wars – Hutt Run #1 [116]
Reprints Star Wars (2015) #35
December 2019

IDW Publishing (2017–present) Edit

In September 2017, IDW Publishing debuted Star Wars Adventures, an anthology series published as part of the "Journey to Star Wars: The Last Jedi" publishing program. [117]

In January 2018, IDW released a five-issue comic tie-in to Star Wars: Forces of Destiny. [118]

In November 2018, IDW released Star Wars Adventures: Destroyer Down. This three-issue miniseries reprinted the previously released Loot Crate special from December 2017.

IDW has also published graphic novel adaptations of each Star Wars film since The Force Awakens. [119]


WASHINGTON’S INDIAN POLICY

Relationships with Indians were a significant problem for Washington’s administration, but one on which white citizens agreed: Indians stood in the way of white settlement and, as the 1790 Naturalization Act made clear, were not citizens. After the War of Independence, white settlers poured into lands west of the Appalachian Mountains. As a result, from 1785 to 1795, a state of war existed on the frontier between these settlers and the Indians who lived in the Ohio territory. In both 1790 and 1791, the Shawnee and Miami had defended their lands against the whites who arrived in greater and greater numbers from the East. In response, Washington appointed General Anthony Wayne to bring the Western Confederacy—a loose alliance of tribes—to heel. In 1794, at the Battle of Fallen Timbers, Wayne was victorious. With the 1795 Treaty of Greenville, the Western Confederacy gave up their claims to Ohio.

Notice the contrasts between the depictions of federal and native representatives in this painting of the signing of the Treaty of Greenville in 1795. What message or messages did the artist intend to convey?


Astrography [ edit | edit source ]

Thirty years after the Battle of Endor, the New Republic occupied vast swaths of space stretching from the Inner Core to the Outer Rim Territories, and at that time had its rotating capital on the Core World of Hosnian Prime. Γ] While a fraction the size of both the Galactic Republic and Empire, its egalitarian practices left many neighboring star systems on friendly terms with the new government. Α] Some known Republic worlds included Chandrila, Akiva, Ώ] Coruscant, Taris, Naboo, Ε] Hevurion, Mirrin Prime, Γ] Arkanis, Kuat, and Daxam IV. Β] After the First Order's secession from the Republic, a narrow region of space existed as a neutral region of systems known as the Trans-Hydian Borderlands, in which an act of aggression within would be viewed as an overt act of war. Despite this, the First Order Navy frequently crossed the Borderlands and penetrated New Republic space, which led to incidents like the Suraz engagement. In spite of these violations of the Galactic Concordance, the New Republic refused to take action against the First Order beyond issuing formal diplomatic protests. Γ]


Recommended Reading

How The New Republic Lost Its Place

We’re Not Ready for Another Pandemic

Manchin and Sinema Now Face the Weight of History

The personal attitude of TNR's longtime owner, the bigoted Martin Peretz, should be mentioned here. Peretz's dossier of racist hits (mostly at the expense of blacks and Arabs) is shameful, and one does not have to look hard to find evidence of it in Peretz's writing or in the sensibility of the magazine during his ownership. In 1984, long before Sullivan was tapped to helm TNR, Charles Murray was dubbing affirmative action a form of "new racism" that targeted white people.

Two years later, Washington Post writer Richard Cohen was roundly rebuked for advocating that D.C. jewelry stores discriminate against young black men—but not by TNR. The magazine took the opportunity to convene a panel to "reflect briefly" on whether it was moral for merchants to bar black men from their stores. ("Expecting a jewelry store owner to risk his life in the service of color-blind justice is expecting too much," the magazine concluded.)

TNR made a habit of "reflecting briefly" on matters that were life and death to black people but were mostly abstract thought experiments to the magazine's editors. Before, during, and after Sullivan's tenure, the magazine seemed to believe that the kind of racism that mattered most was best evidenced in the evils of Afrocentrism, the excesses of multiculturalism, and the machinations of Jesse Jackson. It's true that TNR's staff roundly objected to excerpting The Bell Curve, but I was never quite sure why. Sullivan was simply exposing the dark premise that lay beneath much of the magazine's coverage of America's ancient dilemma.

What else to make of the article that made Stephen Glass's career possible, "Taxi Cabs and the Meaning of Work"? The piece asserted that black people in D.C. were distinctly lacking in the work ethic best evidenced by immigrant cab drivers. A surrealist comedy, Glass's piece revels in the alleged exploits of a mythical Asian-American avenger—Kae Bang—who wreaks havoc on black criminals who'd rather rob taxi drivers than work. The article concludes with Glass, in the cab, while its driver is robbed by a black man. It was all lies.

What else to make of TNR sending Ruth Shalit to evaluate affirmative action at The Washington Post in 1995? "She cast Post writer Kevin Merida as some kind of poster boy for affirmative action when in fact he had risen in the business for reasons far more legitimate than her own," David Carr wrote in 1999. Shalit's piece wasn't all lies. But it wasn't all true either. Shortly after the article was published, she was revealed to be a serial plagiarist.

TNR might have been helped by having more—or merely any—black people on its staff. I spent the weekend calling around and talking to people who worked in the offices over the years. From what I can tell, in that period, TNR had a total of two black people on staff as writers or editors. When I asked former employees whether they ever looked around and wondered why the newsroom was so white, the answers ranged from "not really" to "not often enough." This is understandable. Prioritizing diversity would have been asking TNR to not be TNR. One person recalled a meeting at the magazine's offices when the idea of excerpting The Bell Curve was first pitched. Charles Murray came to this meeting to present his findings. The meeting was very contentious. I asked if there were any black people in the room this meeting. The person could not recall.

I always knew I could never work at TNR. In the latter portion of the magazine's heyday, in the mid-'90s, I was at Howard University with aspirations toward writing. Howard has a way of inculcating its students with a sense of mission. If you are going into writing, you understand that you are not a free agent, but the bearer of heritage walking in the steps of Hurston, Morrison, Baldwin, Wright, and Ellison. None of these writers appear in Insurrections of the Mind. Howard University taught me to be unsurprised by this. It also taught me that writing was war, and I knew, even then, that TNR represented much of what I was at war with. I knew that TNR's much celebrated "heterodoxy" was built on a strain of erudite neo-Dixiecratism. When The Bell Curve excerpt was published, one of my professors handed out the issue to every interested student. This was not a compliment. This was knowing your enemy.

TNR did not come to racism out of evil. Very few people ever do. Many of the white people working for the magazine were very young and very smart. This is always a dangerous combination. It must have been that much more dangerous given that their boss was a racist. (Though I am told he had many black friends and protégés.) Peretz was not always a regular presence in the office. This allowed TNR's saner staff to regard him as the crazy uncle who says racist shit at Thanksgiving. But Peretz was not a crazy uncle—he was the wealthy benefactor of an influential magazine that published ideas that damaged black people.

A writer for TNR told me how, in the mid-'90s, Peretz would come down to the office from Cambridge and lobby young writers to write what turned out to be the fictional "Taxi Cabs and the Meaning of Work." The writer told me that the young interns and fact-checkers would squirm in their seats. But no one took a stand. And perhaps it is too much to expect writers in their mid 20s, with editors in their late 20s, to say to Peretz, "Please stop shopping this racist bullshit." But the task was made infinitely easier by a monochrome staff that could view Peretz's racism as an abstraction, and not something that directly injured their families.

Things got better after Peretz was dislodged. The retrograde politics were gone, but the "Whites Only" sign remained. I've been told that Foer was greatly pained by Peretz's racism. I believe this. White people are often sincerely and greatly pained by racism, but rarely are they pained enough. That is not true because they are white, but because they are human. I know this, too well. Still, as of last week there were still no black writers on TNR's staff, and only one on its masthead. Magazines, in general, have an awful record on diversity. But if TNR's influence and importance was as outsized as its advocates claim, then the import of its racist legacy is outsized in the same measure. One cannot sincerely partake in heritage à la carte.

In this sense it is unfortunate to see anonymous staffers accusing TNR's owner Chris Hughes of trying to create "another BuzzFeed." If that is truly Hughes's ambition, then—in at least one important way—he will have created a publication significantly more moral than anything any recent TNR editor ever has. No publication has more aggressively dealt with diversity than BuzzFeed. And not unrelated to this diversity has been a stellar range of storytelling and analysis, that could rival—if not best—the journalism in the latest iteration of TNR.

No one who works in magazines is happy to hear about writers and editors losing their jobs—even when those people have the enviable luxury of walking out on principle. And when I think of TNR's history, when I flip through Insurrections, when I examine the magazine's archives, I am not so much angry as I am sad. There really was so much fine writing in its pages. But all my life I have had to take lessons from people who, in some profound way, cannot see me. TNR billed itself as the magazine for iconoclasts. But its iconoclasm ended exactly where everyone else's does—at 110th Street. Worse, TNR encouraged incuriosity about what lay beyond the barrier. It told its readers that my world was welfare cheats, affirmative-action babies, and Jesse Jackson. And that white people—or any people—would be urged to such ignorance by their Harvard-bred intellectual leadership is deeply sad. The in-flight magazine of Air Force One should have been better. Perhaps it still can be.


These media sources are moderately to strongly biased toward liberal causes through story selection and/or political affiliation. They may utilize strong loaded words (wording that attempts to influence an audience by using appeal to emotion or stereotypes), publish misleading reports, and omit information that may damage liberal causes. Some sources in this category may be untrustworthy. See all Left Bias sources.

  • Overall, we rate the New Republic Left biased based on story selection and editorial positions that frequently favor the left. We also rate them High for factual reporting due to proper sourcing of information and a clean fact check record.

Detailed Report

Bias Rating: LEFT
Factual Reporting: HIGH
Country: USA (45/180 Press Freedom)
Media Type: Magazine
Traffic/Popularity: Medium Traffic
MBFC Credibility Rating: HIGH CREDIBILITY

History

The New Republic is a liberal American magazine of commentary on politics and the arts published since 1914. Founded by major leaders of the Progressive Movement, it attempted to find a balance between progressivism focused on humanitarianism and moral passion. On the other hand, it sought a basis in the scientific analysis of social issues. According to their about page, “For over 100 years, we have championed progressive ideas and challenged popular opinion. Our vision for today revitalizes our founding mission for our new time. The New Republic promotes novel solutions for today’s most critical issues. We don’t lament intractable problems our journalism debates complex issues and takes a stance. Our biggest stories are commitments for change.”

The current editor-in-chief is Win McCormack. You can view their Masthead here.

Funded by / Ownership

The New Republic has changed ownership many times during the 2000s, with Win McCormack purchasing the magazine in February 2016. Win McCormack is an Oregon-based publisher and editor-in-chief of the Tin House quarterly and Tin House Books. McCormack is also a political activist who served as Chair of the Oregon Steering Committee for Gary Hart‘s 1984 presidential campaign. He was chair of the Democratic Party of Oregon’s President’s Council and a member of the Obama for President Oregon Finance Committee. The New Republic earns revenue through advertising and subscriptions.

Analysis / Bias

In review, the New Republic produces high-quality, in-depth journalism that leans left in story selection. The New Republic frequently uses loaded emotional headlines such as this: White Nationalism Is an International Threat and this The Profound Emptiness of Beto O’Rourke. The New Republic also frequently publishes negative articles on Donald Trump: How to Piss Off Donald Trump. This article and most others are properly sourced to mostly mainstream left-leaning publications such as The Washington Post, Huff Post, and The Daily Beast.

Editorially, the New Republic typically endorses Democratic candidates such as Barack Obama. Further, editorials often align with liberal policies such as environmentalism, equal rights, and Universal Healthcare.

Failed Fact Checks

Overall, we rate the New Republic Left biased based on story selection and editorial positions that frequently favor the left. We also rate them High for factual reporting due to proper sourcing of information and a clean fact check record. (D. Van Zandt 5/13/2016) Updated (6/28/2020)


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